Autumn Concert

Conductor: Levon Parikian

Leader: John Crawford

Trumpet: Ellie Lovegrove

Saturday 18th November 2017 at 7.30pm

St Cyprian’s Church, Glentworth Street, London, NW1 6AX

Tickets: £12 / £10 concessions. Programme: £1.

Camden Symphony Orchestra is a registered charity, number 1081563.

Camden Symphony Orchestra

Welcome to our autumn concert. Tonight we present one of the landmarks of

the repertoire, Mahler’s Symphony No 1, a work which stands out as remarkably original for a first symphony. We’re delighted to be joined by Ellie Lovegrove to

perform the Armenian composer Alexander Arutiunian’s Trumpet Concerto. And the evening opens with three of Dvořák’s ever popular Slavonic Dances.

Camden Symphony Orchestra has been a mainstay of musical life in north London

for more than thirty years with around seventy regular players. Under our Musical

Director Levon Parikian we seek to combine the familiar staples of the classical

and romantic repertoire with less wellknown and more challenging works.

Founded as Camden Chamber Orchestra in 1980, we rebranded in 2013 to reflect

better our size and repertoire. CSO rehearses on a weekly basis and performs

three major orchestral concerts a year. Since 2008 we have also performed

regularly with Islington Choral Society.

Recent programmes have included SaintSaëns’ ‘Organ’ Symphony, a sellout Family Concert, a performance of The Battle of the Somme by Laura Rossi accompanying a screening of the 1916 film and Beethoven’s ‘Choral’ Symphony, as well as works by Britten, Elgar, Korngold, Ravel and Shostakovich. The

orchestra has performed a number of operas, and with Islington Choral Society

we have performed a wide range of choral works including Handel’s Coronation Anthems, Haydn’s The Creation, Poulenc’s Gloria and Rutter’s Requiem.

While we pride ourselves on our friendly, inclusive environment, we take our

musicmaking seriously. We are always pleased to hear from musicians interested

in joining us. For more information about the orchestra, please visit

www.camdenso.org.uk.

Follow us on Facebook and Twitter, and join our

mailing list, via the links at:

www.camdenso.org.uk

Camden Symphony Orchestra is affiliated to Making Music

which represents and supports amateur choirs, orchestras and

music promoters.

Dvořák Slavonic Dances, Opus 46 Nos 13

Arutiunian – Trumpet Concerto

Soloist: Ellie Lovegrove

~ Interval ~ Please join us for refreshments which will be served at the back of the church.

Mahler Symphony No 1

Please ensure that mobile phones, pagers, digital watch alarms and other

electronic devices are switched off during the performance.

We would like to thank the PriestinCharge, Parish Administrator and PCC of St

Cyprian’s Church for permission to perform here tonight, and for their assistance

in organising this concert.

Antonin Dvořák (1841-1904) - Slavonic Dances, Opus 46 Nos 1-3 (1878)

No 1 in C major (Furiant) No 2 in E minor (Dumka) No 3 in A major (Polka)

Dvořák's Slavonic Dances are a series of sixteen orchestral pieces composed in 1878 and 1886.

They were published in two sets as Opus 46 and Opus 72 respectively. Originally written for

four hands at the piano, Dvořák's dances were inspired by Brahms’ Hungarian Dances and were

orchestrated at the request of Dvořák's publisher soon after composition. These lively pieces,

full of national character, were well received at the time and today are considered among the

composer's most memorable works, occasionally making appearances in popular culture.

Prior to the publication of the Slavonic Dances, Dvořák was a relatively unknown composer of

modest means. Consequently, he applied for the Austrian State Prize fellowship to fund his

composing work. After he won the prize three times in four years (1874, 1876 and 1877),

Brahms referred Dvořák to his own publisher, Fritz Simrock. The first work by Dvořák's to be

published by Simrock was the Moravian Duets, which attained widespread success;

encouraged, Simrock requested something with a dancelike character.

Dvořák used Brahms' Hungarian Dances as a model. However there was an important

difference between the two works; Brahms made use of actual Hungarian folk melodies

whereas Dvořák used the characteristic rhythms of Slavic folk music but the melodies were

entirely his own. Simrock was impressed and requested an orchestral version. Both were

published within the year, and quickly established Dvořák's international reputation. The

enormous success of the Opus 46 dances led to another set in 1886, Opus 72, which met with

a similar reception.

The Slavonic Dances are robust and colourful, driven by the rhythmic patterns and features of

traditional Czech folk music. Each dance with alternating themes and episodes consists of

several folklike melodies of contrasting characters, keys, and tempos. Opus 46 No 1 is a highly

spirited and cheerful Furiant in 3/4 time, but is filled with crossrhythms throughout, an

important feature of the dance. No 2 opens with a gentle rocking theme that is contrasted with

a much jauntier and faster dance, though the work ends quietly. The lyrical and promenading

Czech Polka is the basis for No 3. Exotic and charming, individually or as a set, these dances

capture a vivacious snapshot of Eastern European culture from Dvořák's perspective.

Alexander Arutiunian (1920-2012) - Trumpet Concerto (1950) Andante, Allegro energico, Meno mosso, Allegro energico

Alexander Arutiunian was a Soviet and Armenian composer and pianist, widely known for his

virtuoso showpiece trumpet concerto composed 19491950. He was recognised with many

awards for his work, including the Stalin Prize in 1949 and People's Artist of the USSR in 1970,

as well as numerous honours from his Armenian homeland.

The melodic and rhythmic characteristics of Armenian folk music are a strong influence in

Arutiunian’s work. As a composer, he expresses his nationality by incorporating the flavour of

ashughner (folk minstrel) improvisations. At the time the concerto was written, his

compositions were similar in style to Khachaturian’s. By the 1960s he tended towards classical

forms and clearer tonality.

This trumpet concerto was Arutiunian’s sixth major composition. He originally intended to

write it in 1943 for his student Zsolak Vartasarian, principal trumpet in the Armenian

Philharmonic Orchestra. However, Vartasarian died in the Second World War and the concerto

was not completed until 1950. Aykaz Messlayan was the first performer of the Concerto and

Timofei Dokschitzer was its first recording artist.

The concerto was conceived, and written, as a singlemovement concerto with an extended

lyrical episode. It consists of seven major sections which are all performed without break;

Andante, Allegro energico, Meno mosso, Tempo I, Meno mosso, Tempo I, Cadenza & Coda. It

contains a slow introduction to a fast section, followed by a slow central passage and a fast

finale, in which much earlier material returns, but is treated in a more elaborate manner. The

writing for the soloist is free, giving the improvisatory feeling that is typical of the composer's

style. The orchestral writing shows jazz influences with some allusions to Shostakovich. The rich

harmony in the slow sections provides contrast to the faster passages.

Alexander Arutiunian

wrote extensively for

brass instruments

with his Trumpet

Concerto his best

known composition.

Gustav Mahler (1860-1911) - Symphony No 1 in D major (1888) I Langsam. Schleppend. Wie ein Naturlaut. Im Anfang sehr gemächlich. (Adagio commodo)

II Kräftig bewegt, doch nicht zu schnell. (Con moto)

III Feierlich und gemessen, ohne zu schleppen. (Moderato)

IV Stürmisch bewegt – Energisch. (Tempestoso)

Mahler the songwriter and Mahler the symphonist are inseparable, and Mahler's first

symphony is a good example of this. The symphony draws on themes and textures from his

songcycle Lieder eines fahrenden Gesellen (Songs of a Wayfarer). By the age of 20, Mahler had

written one largescale work, the cantata Das Klagende Lied, and in 1888 his first symphony

premiered in Budapest.

The symphony had a chequered start, originally with five movements and named Titan,

influenced by the Jean Paul novel with that title. The first performance of the five movements

had the Budapest audience puzzled. Its music was unlike the symphonies of Brahms or the early

tonepoems of Strauss. Mahler removed the middle movement (Blumine, a short andante now

sometimes performed on its own) and the title. The first symphony had to wait until Mahler's

reputation was established by his immense second symphony, ‘Resurrection', of 1892 before it

was accepted.

This cartoon of Mahler

conducting his first

symphony was published

on the front page of

Wiener Illustrated in

November 1900.

The German description of the first movement means "slow, held back, like a sound of nature".

The movement begins with a great spread of sound, like a moment of creation. It gets underway

with a contrapuntal treatment of a lilting, folk tune from the songcycle. The bare harmony is

characteristic of his early music and gives it a distinctive voice when compared with the

Wagnerian richness of harmony favoured by his predecessors. Next Mahler introduces a

"powerfully moving" folktuneinspired scherzo, influenced by Bruckner’s galumphing rhythms

and Schubert’s longflowing melodic lines.

The Austrian musicologist Hans Redlich in his book on Mahler refers to "the psychological

collapse in the eerie, selflacerating slow movement", a phrase which perfectly sums up its

haunted atmosphere. A solo doublebass spells out the old tune of Frère Jacques, but in the

minor key. There is a furious eruption of tavern music, full of squawking woodwind, which must

have been disconcerting for the Budapest audience. The next section is delicate and pastoral

in its nature, which provides contrast to the surrounding nightmare which returns with

renewed force on menacing trombones.

The composer starts his "stormy, moving" finale with a blistering discord. He then plunges into

a sprawling fantasia which includes gusty marches, mighty fanfares, brass chorales, powerful

climaxes, quiet withdrawals and a long lyrical tune. His rich harmonisation of this long melody

is an exception to the bareness of harmony mentioned earlier. There is a moment halfway

through which may convince some listeners that the symphony is over. However, there is more

to come, ending in a grand D major fanfare for the whole huge orchestra. This ending

underlines the confidence with which the young Mahler took his first decisive steps along his

symphonic journey.

Ellie Lovegrove – Trumpet

Originally from Ware, Hertfordshire, Ellie Lovegrove grew up in a musical family and started playing the trumpet aged 7. She later played principal trumpet with the Hertfordshire County Youth Orchestra, joined the National Youth Orchestra and National Youth Jazz Orchestra, and went on to study with Paul Benniston and Micahel Laird at the Royal College of Music. As a soloist, Ellie has performed Shostakovich’s Concerto for Piano, Trumpet and Strings at St John’s Smith Square, London. Her trumpet and organ duo with Richard Moore, Illumina Duo, has enjoyed giving recitals at St Paul’s Cathedral, Fairfield Halls Croydon and St MartinintheFields. Illumino Duo released their first album, 'Illuminations, Dances & Poems', on Convivium Records in October 2017. Ellie recently visited the Far East, where in addition to giving masterclasses, she performed a recital in Hong Kong, and world premieres at Nanyang Academy of Fine Arts, Singapore. As a freelancer, Ellie performs with a large variety of orchestras, including the BBC Concert Orchestra, BBC Scottish Symphony Orchestra, English National Ballet, and Britten Sinfonia. As a chamber musician, she has performed at The London Handel Festival on period instruments, and regularly performs with brass quintet Chaconne Brass in recitals and recording across the country. Commercially, Ellie regularly plays for Les Misérables in the West End, London, and has worked with artists Sister Seldge and Seal. She currently teaches trumpet at Benenden School in Kent, and when isn't playing the trumpet, enjoys cooking curries from scratch and trying to keep up with Cece, the Spanish Greyhound.

You can find out more about Ellie at www.ellielovegrove.com.

Levon Parikian Conductor

Levon Parikian has been one of our regular conductors since 2000, and our Musical Director since 2004.

After studying conducting with Michael Rose, David Parry and George Hurst, Lev went to St Petersburg to study with the great Russian teacher Ilya Musin. Since completing his studies he has pursued a freelance career, and is much in demand as Guest Conductor with orchestras in Britain. He currently holds Principal Conductor posts with several Londonbased orchestras, is Principal Conductor of the City of Oxford Orchestra, and Artistic Director of The Rehearsal Orchestra. He has worked extensively with students and youth orchestras, including the Hertfordshire County Youth Orchestra, National Youth Strings Academy, Royal College of Music Junior Sinfonia, and at Royal Holloway, University of London, where he also taught conducting for fifteen years. In 2012, Lev conducted the UK premiere of Armen Tigranian's opera Anoush with London Armenian Opera. He recently conducted the BBC Concert Orchestra in a rerecording of the theme tune for Hancock’s Half Hour for lost episodes recorded for broadcast on BBC Radio 4. Lev’s first book Waving, Not Drowning (www.wavingnotdrowningbook.com) was published in 2013 and is an entertaining insight into the conductor's world. His second book, Why Do Birds Suddenly Disappear?, a sorry tale of atrocious birdwatching, is currently crowdfunding at www.unbound.co.uk.

John Crawford Leader

John Crawford has been our leader since September 2006. John received his early musical training in Sheffield, but later was able to study with Molly Mack at the Royal Academy of Music through the help of the National Youth Orchestra. He won a Foundation Scholarship to the Royal College of Music where he studied with Leonard Hirsch. After further study in Vienna and Siena, John joined the BBC Symphony Orchestra. A growing interest in teaching led to his appointment as principal violin teacher at the KeskiPohjanmaan Conservatory in Finland. John now combines a busy performing life with teaching at Trinity Laban Conservatoire of Music and Dance, the Purcell School and the Royal College of Music Junior Department. John is also a qualified teacher of the Alexander Technique, and has had a lifelong interest in freedom of movement for musicians. He works regularly as an adjudicator, and leads the Forest Philharmonic and Ernest Read Symphony orchestras as well as CSO.

Camden Symphony Orchestra

Violin I

John Crawford (Leader) Robbie Nichols David Divitt Alexandra Bowers Jonathan Knott Kate Fern Olivia DalsemeStubbs Susie Bokor Sarah Benson Jasmine Cullingford Ellie Shouls Joyce Yu Ashleigh Watkins Violin II

Sheila Hayman Josh Hillman Marion Fleming Jo Wilson Diana FrattaliMoreno Josie Pearson Kathy He Lara Kenber Costa Peristianis Lea Herrscher Viola

James Taylor Joanna Dunmore Áine McCarthy John Broad Anna Heltmann Mark Denza Chris Yate Luke Waterfield

Cello

Susan Delgado Jane BrettJones Denis Ribeiro Robert Aitken Antje Saunders Kate Nettleton Juliette Sung Philip Austin Double Bass

Stephane Le Vu Owen Nicolaou Patrick Philip Jess Price Flute

Amanda Lockhart Knight Isobel Colchester Piccolo Kieran Hughes Oboe

Sonia Stevenson Adam Bakker Rachel Sutton Cor Anglais

Adam Bakker

Clarinet

Sheena Balmain Debbie Shipton Eb Clarinet

Noriko Lody Bass Clarinet

Jess Sullivan

Bassoon

David Robson Miles Chapman

Contrabassoon

Richard Vincent

Horn

Ed Dorman John Isaacs Michael Slater Gwen McDougal Maria Vitale Max Dinning Matthew Horn

Trumpet

Tim Milford Sarah Jenkins Gabriel Askew Anna Rawlings Trombone

Paul McKay Lydia Bowden Morgan Hollis Tuba

Bedwyr Morgan Timpani

David Danford Percussion

George Andrews Ed Beesley Hannah Beynon André Camacho Harp

Glenda Allaway

Forthcoming Concerts

Saturday 3rd March 2018 at 7.30pm

St Mary Magdalene, Munster Square, London, NW1 3PH

Bernstein – Candide Overture Shostakovich – Piano Concerto No 2

(Soloist: Masayuki Tayama) Debussy – Prélude à l’Aprèsmidi d’un faune

Mussorgsky (orchestrated by Ravel) – Pictures at an Exhibition

~

Sunday 18th March 2018 at 7pm

St John’s Smith Square, London, SW1P 3HA

Concert with Islington Choral Society

Brahms Ein Deutsches Requiem

~

Saturday 16th June 2018 at 7.30pm

St Cyprian’s Church, Glentworth Street, London, NW1 6AX

Film Music Concert

Korngold Captain Blood Overture Bernstein On the Waterfront

Richard Rodney Bennett Murder on the Orient Express Steiner Casablanca Suite

Walton (arranged Mathieson) Hamlet and Ophelia Barry (arranged Tyzik) The Best of Bond

For further details about these concerts, including ticket information, visit:

www.camdenso.org.uk